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Producción Orientada Al Procomún En El Documental Español

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Producción Orientada Al Procomún En El Documental Español ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en TESIS DOCTORAL Producción orientada al procomún en el documental español Simón Vialás Fernández Dirigida por: Dr. José Luis Terrón Blanco Estudios de doctorado en comunicación audiovisual y publicidad Dpto. Comunicación Audiovisual y Publicidad Universidad Autónoma de Barcelona Junio de 2017 A mis abuelas, Esperanza y Nieves A mis padres, Justo y Lola Agradecimientos A mi Familia, especialmente a mi hermana y hermano, por todos sus afectos y apoyo. A los compañeros y compañeras del IncomUAB y del CEO. También a Ernest y a mis amig*s de la Facultad de Comuncación de la UAB. También a los de la UC3M, eca-USP y UAM-Xochimilco, especialmente a Guiomar y Toño. A José Luis, gracias por tu tiempo, dedicación y paciencia. A tod*s l*s participantes en la investigación cuantitativa y cualitativa. A Andreu y al equipo del BccN; a Berto y María de A navalla suíza; a Lucas y al equipo de ZEMOS98; a Pablo de Quepo.org; a Jesús y Aitor de Eguzki Bideoak; a Xavi de Metromuster y a Carmen de Tierravoz. Gracias por vuestro tiempo y esfuerzo en desarrollar una cultura audiovisual libre. A todas y todos los fotógrafos, periodistas, informadores y documentalistas honestos. Gracias por vuestro compromiso con la justicia social y la defensa de los derechos y dignidad de las personas. A las y los trabajadores culturales que orientan su actividad hacia el procomún. A la editorial Traficantes de sueños. A Aaron Swartz (RIP), Alexandra Elbakyan y a todas las personas que luchan por garantizar el libre acceso a la cultura y el conocimiento A todas las personas que han compartido sus conocimientos y me han ayudado a desarrollar habilidades en torno al software y hardware libre, especialmente a mis mentores Nico Venegas, Carlos S. Padial y mis cuates del Rancho Electrónico. También a Andrey Filipov y Olga Filipova de Elphel Inc. por su apoyo en el desarrollo del laboratorio KinoRAW. También al Blender Institute por ser un referente de como conjugar libertad y sostenibilidad. A todos ellos, gracias por promover una moral tecnológica. A l*s amig*s de Badajoz, Asturias, Londres, Madrid, São Paulo y Barcelona, especialmente a Pedro, Julia y Caroline por todo su apoyo en la recta final de esta tesis. A Jaime, María y Lara. Si, por ese orden sois un poco responsables de que desarrollase este vínculo inesperado con la producción. Si estás leyendo esto, especialmente para tí. Índice Introducción...................................................................................................................................6 I- MARCO TEÓRICO Introducción al marco teórico........................................................................................................13 1. Fundamentos de la producción audiovisual contemporánea...............................................15 1.1 Aproximaciones teóricas a la producción mediática........................................................20 1.2 Producción audiovisual y nuevos media..........................................................................25 1.2.1 Nuevos media como marco de interrelación social...........................................27 1.2.2 Productividad, nuevos media y convergencia cultural......................................29 1.3 Cultura, democracia libertad y tecnología........................................................................36 1.3.1 Imaginarios de la cultura digital y la comunicación..........................................37 1.3.1.1 Utopías: libertad, participación y democracia....................................39 1.3.1.2 Distopías: vigilancia, control y explotación.......................................43 1.3.2 Comunicación y democracia: evidencias, tendencias y realidades...................48 1.3.2.1 Tecnopolítica, soberanía tecnológica y ecología política...................51 1.3.2.2 La batalla en torno a la ecología institucional del entorno red...........54 1.3.2.3 Esfera pública en red y espacio público digital..................................59 2. Modos de producción audiovisual..........................................................................................63 2.1 Modo de producción industrial.........................................................................................65 2.1.1 Análisis crítico del modelo de las industrias creativas......................................67 2.1.1.1 Organización.......................................................................................72 2.1.1.2 Tamaño, propiedad y estrategia..........................................................75 2.1.1.3 Naturaleza del trabajo.........................................................................79 2.2 Modo de producción social en el audiovisual..................................................................82 2.2.1 Cultura y ética hacker en la producción audiovisual.........................................87 2.2.2 Software y Cultura libre....................................................................................89 2.2.3 Producción social, cine independiente e innovación.........................................92 2.2.4 Open cinema, cine de código abierto................................................................95 2.2.5 Análisis crítico del modelo de producción social..............................................98 2.2.5.1 La organización en el modo de producción social.............................99 2.2.5.2 Tamaño, propiedad y estrategia........................................................104 2.2.5.3 Trabajo..............................................................................................107 2.3 Relaciones entre los modos de producción industrial y social..............................................110 3. Documental.............................................................................................................................113 3.1 Fundamentos históricos del documental.........................................................................114 3.1.1 Concepciones e interpretaciones del documental............................................123 3.2 La producción de Documentales en el marco de las industrias culturales y la cultura digital....................................................................................................................................128 3.2.1 Influencia tecnológica en la producción de documental.................................130 3.2.2 Influencia política sobre el documental...........................................................136 3.3 Ecologías y ecosistemas del documental........................................................................139 4. Procomún y producción orientada al procomún................................................................145 4.1 Procomún........................................................................................................................146 4.2 Infraestructura básica común para la producción audiovisual........................................153 4.2.1 La capa física...................................................................................................155 4.2.2 La capa lógica..................................................................................................159 4.2.3 La capa de contenidos.....................................................................................164 4.3 Economías del procomún...............................................................................................166 4.4 Producción audiovisual orientada al procomún.............................................................168 II - INVESTIGACIÓN...................................................................................................................175 1. Estudios previos en torno al procomún audiovisual................................................................176 2. Objeto de estudio.....................................................................................................................178 3. Objetivos..................................................................................................................................180 4. Preguntas de investigación.......................................................................................................181 5. Hipótesis..................................................................................................................................182 6. Metodología y planteamiento de la investigación...................................................................182 6.1 Metodología cuantitativa................................................................................................184 6.2 Metodología cualitativa..................................................................................................187 7. Limitaciones.............................................................................................................................191 III – RESULTADOS..................................................................................................................192
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